法學(xué)專(zhuān)業(yè)外文翻譯--版權(quán)和民間文藝(參考版)
2025-05-16 22:28本頁(yè)面
【正文】 s own 6 unique, freely developed folk tradition once the country bees freed from its colonial ties. The term traditional culture was preferred to folklore, because the latter carried disparaging Western overtones. Concern was expressed not only over the economic exploitation of folklore but also over the exportation of traditional culture and presentation outside its original contexts in a way that offended against the munities producing and preserving this tradition. From the beginning, then, there were two main concerns, the economic and the ethical. The debate was launched in the industrialised countries, too, first in the Nordic countries in 1974, obviously without any connection to the Bolivian initiative at Unesco. At the time I was serving as the director of the Nordic Institute of Folklore and ordered an investigation on the relations between folklore and copyright from a Finnish lawyer. Her report was published in Swedish in 1975. It pondered, among other things, on the concept of folk artist and the question whether folklore could be protected through neighbouring rights, . through the protection given to artists concerning the copyright of their products and performances. Since folklore is observable only in performance, this alternative would prehensively cover expressions of folklore. An individual ownership of folklore, however, was problematic in view of the dominant role of the tradition munity in the interpretation and maintenance of folklore. The Bolivian initiative started a process which led to the formulation of a model law to be adopted by those countries which wanted to go ahead with copyrighting folklore. A few countries, such as Tunisia, already had national laws regulating merce in folk
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